In the TV series "Armageddon", there is a detail that has aroused heated discussions among the audience: **Receiving Su Yu in the field, the two just greeted each other normally, and they didn't even shake hands. Does this scenario make sense? Is it in line with historical facts? Whether artistic creation should be recreated on the basis of real historical details has become the focus of discussion.
At the beginning of May 1948, Su Yu, then the deputy commander of the East China Field Army, was ordered to go north and rode into the Jinchaji Military Region Headquarters in Nanzhuang, Fuping City, Hebei Province. This is the first time that Su Yu was assigned to the Red Seventh Army Corps, participated in the advance company of the anti-Japanese army in the north, and left the **Red Army. He returned to ** again, and his mood can be described as extremely excited. ** Changed the habit of never going out when meeting comrades in the party, strode out of the door, shook hands with him warmly for a long time, and said cheerfully: "Our hero is back, welcome to you, Comrade Su Yu, 17 years, 17 years."
Subsequently, Su Yu attended an enlarged meeting presided over by Su Yu, and at the meeting on 2 May, he analyzed the situation of the four main forces of the Kuomintang entrenched in the Central Plains, and talked a lot about the advantages of concentrating troops to fight a big battle in the liberated areas of the Central Plains. After discussion, the five secretaries finally agreed with Su Yu's opinion, and decided that on the premise that the established strategic policy would remain unchanged, the three columns of Huaye would postpone their march south across the Yangtze River, and first concentrate their forces to fight a major battle of annihilation north of the Yangtze River, and then cross the Yangtze River to the south.
As an art form, TV dramas often need to be reasonably imagined and created on the basis of respecting history. In "Armageddon", the setting of the field reception scene may be to show the work style of going deep into the grassroots and keeping close contact with the masses, but the authenticity is obviously not enough. Historically, ** stayed in Chengnanzhuang for only one month, and then arrived at Xibaipo. In such a short period of time, such a major military situation, and the upcoming meeting of the five secretaries, there are many topics, and it is necessary to make decisions on major strategic issues and deployments, and there are a lot of problems. **Go out to greet in person, reflecting the extra importance and love for Su Yu, which is also officially recorded, which is reasonable! For such a theater commander who has made many meritorious achievements in the East China battlefield and fought one big victory after another, the chairman broke the convention of not going out to greet him, which is more evocative and resonant, and more embodies the charm of the leader. The plot setting and artistic creation of the TV series Armageddon are obviously not in line with historical logic.
3. Rationality Analysis: Historical Logic and Artistic Effect.
Judging from the above arguments and historical logic, it is not in line with historical facts to receive Su Yu in the field. During the war years, the close ties between leaders and front-line generals were one of the important factors in ensuring victory in the war. As the supreme leader, he broke the convention and personally went out to greet Su Yu and gave him an over-standard reception, which reflected his concern and support for General Su Yu. From the perspective of artistic effect, the setting of this scene did not enhance the viewing and appeal of the TV series, nor did it allow the audience to have a deeper understanding of the historical background and the relationship between the characters.
To sum up, the scene of *** receiving Su Yu in the field in the TV series "Armageddon" is unreasonable. It does not conform to the historical context or the needs of artistic creation. Through this scene, the audience does not have a deeper understanding of the historical background and the relationship between the characters, and it is difficult to feel the demeanor of the revolutionary leader and the hardships of the war years. At the same time, this scene also makes us think deeply about the need for artistic representation to be rooted in historical details.
The revolutionary war drama, through reasonable artistic reproduction, allows the audience to have a deeper understanding of the historical background and character stories of that special period. We should respect history and inherit the revolutionary spirit.